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The long-awaited autobiography of the guitarist, songwriter, singer, and founding member of the Rolling Stones. Ladies and gentlemen: Keith Richards.
With The Rolling Stones, Keith Richards created the songs that roused the world, and he lived the original rock and roll life. Now, at last, the man himself tells his story of life in the crossfire hurricane. Listening obsessively to Chuck Berry and Muddy Waters records, learning guitar and forming a band with Mick Jagger and Brian Jones. The Rolling Stones's first fame and the notorious drug busts that led to his enduring image as an outlaw folk hero. Creating immortal riffs like the ones in "Jumping Jack Flash" and "Honky Tonk Women." His relationship with Anita Pallenberg and the death of Brian Jones. Tax exile in France, wildfire tours of the U.S., isolation and addiction. Falling in love with Patti Hansen. Estrangement from Jagger and subsequent reconciliation. Marriage, family, solo albums and Xpensive Winos, and the road that goes on forever.
With his trademark disarming honesty, Keith Richard brings us the story of a life we have all longed to know more of, unfettered, fearless, and true.
bed. It was a good writing period. Songs were coming. “Honky Tonk Women,” which came out as a single before the next album, Let It Bleed, in July 1969, was the culmination of everything we were good at at the time. It’s a funky track and dirty too; it’s the first major use of the open tuning, where the riff and the rhythm guitar provide the melody. It’s got all that blues and black music from Dartford onwards in it, and Charlie is unbelievable on that track. It was a groove, no doubt about it,
to pull it down. I’m not gloating about what happened, but it didn’t surprise me. In the long run he had to come back to the Stones to reidentify himself—for redemption. So here come the Millstones, brother, to save you from drowning. I was not going to put the first feeler out. I was over it. I was not interested in being with the Stones under these conditions. By then I had a very good record under my belt and I was enjoying myself. I would have done another Winos record right then. There was
heard “Oh, we don’t want to go back and re-create Exile on Main St.,” I thought, I wish you fucking could, pal! So when it came to Bridges to Babylon, a tour and a record later in 1997, Mick wanted to make sure we made cutting-edge music of the moment. Don Was was still on board as producer despite Mick’s frustrations, because he was so good and worked so well with both of us, but this time Mick had what seemed at first like not a bad idea to get different producers to work under Don on
trousers, the skin-tight ones under the regulation flannels, which came off the minute I was out the gate. Anything to annoy them. It didn’t get me anywhere; it got me a lot of black looks from my dad, but even that didn’t stop me. I really didn’t like to disappoint my dad, but… sorry, Dad. It still rankles, that humiliation. It still hasn’t gone out, the fire. That’s when I started to look at the world in a different way, not their way anymore. That’s when I realized that there’s bigger bullies
sang Hallelujah at one time or another. Al Green, Little Richard, Solomon Burke, they all got ordained. Preaching is tax free. Very little to do with God, a lot to do with money. Jerome Green was Bo Diddley’s maracas shaker. He’d been with him on all the records and he was sloppy drunk, one of the sweetest motherfuckers you could ever meet. He would just fall into your arms. He was almost Bo’s partner; they’d been together through everything. There was a lot of call-and-response going on, “Hey,